was not well taken.

That Loeben has been so totally neglected by historians and
encyclopedists is simply a case of that disproportion that so
frequently characterizes general treatises. Loeben is entitled to some
space in large works on German literature; but he was, like many
another who has been given space, a weak poet. And the sort of
weakness, with which he was endowed can be brought out by a discussion
of two of his novelettes, _Das weisse Ross,_[19] and _Leda,_ neither
of which is by any means his best work, and neither of which seems to
be his worst. But, to judge from what has been said of his prose works
in general, both are quite typical.

The plot so far as the action[20] is concerned is as follows: Otto
owes the victory he won at a tournament in Nürnberg largely to the
beauty and agility of his great white horse Bellerophon. Siegenot von
der Aue had seen him and his horse perform and determined to obtain
Bellerophon, if possible, for, owing to a curse pronounced on his
family by a remote ancestor, Siegenot must either win at the next
tournament or become a monk, which he does not wish to do. Both he and
Otto love Felicitas, the niece of Graf Berthald. Siegenot secures
Bellerophon, is victorious at the tournament, though seriously
wounded, and is nursed back to health by Otto and Felicitas. It is
Otto, however, who wins Felicitas through his chivalric treatment of
his rival. The two are married, while Siegenot rides away on the great
white horse Bellerophon.

It is such creations that make us turn away from Loeben. Alas for
German romanticism if this story were wholly typical of it! It
contains the traditional conceits of the orthodox romanticists, but